FioreDeiLiberi_StudyGuide.v3.6.pdf

ARMA Historical Study Guide:

Fiore Dei Liberi: 14 th century Master

of Defence

By John Clements

Unarguably the most important Medieval Italian

fighting treatise, the work of Fiore Dei Liberi

forms a cornerstone of historical fencing studies.

Like many other martial arts treatises from the

Medieval and Renaissance eras, we must look

analytically at the totality of the author’s

teachings. In doing so we come to understand how,

rather than consolidating information

compartmentally, its manner of technical writing

disperses it throughout.

In circa 1409, a northern Italian knight and

nobleman, Fiore dei Liberi, produced a systematic martial arts treatise that has come to be

considered one of the most important works of its kind on close-combat skills. Methodically

illustrated and pragmatically presented, his teachings reveal a sophisticated and deadly fighting

craft. It is one of the most unique and important texts in the history of fencing and of our

Western martial heritage. Master Fiore’s manuscript is today the primary source of study for

reconstruction of Italian longsword fencing, combat grappling, and dagger fighting. It currently

constitutes the earliest known Italian fencing manual and one of only two so far discovered from

the era.

Figure 1.

Along with dagger and tapered longsword ( spadone or spada

longa ), his work includes armored and unarmored grappling,

poleax, mounted combat, and specialized weapons as well as

unarmored spear, stick, and staff. His spear (or lance) fighting

on foot is a matter of holding sword postures while thrusting

or deflecting. His longsword fencing techniques include half-

swording, pommel strikes, blade grabbing, disarms, trapping

holds, throws, groin kicks, knee stomps, defense against

multiple opponents, timed blows to push or leverage the

adversary off balance, and even sword throwing. Images of

four different weapons surround the opening page of both the

Getty and PML editions, consisting of clockwise from the top:

a dagger, a polaxe, a spear, and lastly a special kind of

“sword-axe” with a spiked pommel and cross and a spear-like

tip.

Three different manuscript versions of the work of this Bolognese master of arms are known to

have survived, each with different handwriting, by seemingly different artists and with somewhat

different organizational structures. 1 The spelling of terms, unsurprisingly, is inconsistent

throughout. Likely, not all three versions of his treatise on “the art of fighting man to man” ( de

conbatere de corpo a corpo ), as he described it, are from the same date of 1410. The somewhat

briefer “Pisani-Dossi” edition (sometimes called the Novati) is partially in Italian and Latin verse

of short rhyming couplets and often called the Flos Duellatorium in Armis (“The Flower of

Battle in Arms”, or roughly “The Best of the Duelists, with harness and without, on horse and on

foot”). [Figure 1] While the more extensive one now in the J. P. Getty Museum in Los Angeles,

along with the similar one at the Pierpont-Morgan Library (PML) in New York, both entirely in

Italian, are referred to as Fior Battaglia , or the “Flower of Battle.” [Figure 2] A comparative

combination study of the three provides the broadest and fullest understanding of Fiore’s martial

teachings.

The Getty edition ( Fior di Battaglia. Accession Number

83.MR.183 Call Number: MS Ludwig XV 13) is presently

considered to be the fullest and most definitive version,

although all three manuscripts contain some information the

others omit, and the Pisani-Dossi edition arguably does better

in many instances at conveying movement and the motion of

actions. 2 The translations quoted here from the J.P. Getty

Museum edition of Fiore de’ Liberi da Premariacco’s, Flos

Duellatorium in Armis , are largely by Eleonora Litta and

See the full work in progress at:

http://www.fioredeiliberi.org/ . One facsimile version edited

by F. Novati ( Flos Duellatorum : Il Fiore di battaglia di

maestro Fiore dei Liberi da Premariacco ) was published in

Bergamo, Italy in 1902. Another facsimile and modern

Italian translation of this was produced in 1998 by historical fencing researcher Marco Rubboli

1 The provenance of the manuscripts (or chain of ownership trough the ages) is not entirely clear. The Getty Museum manuscript is the former

Codex Marcello (Accession Number 83.MR.183. MS LUDWIG XV 13), mentioned by F. Novati in 1902: Fior di Battaglia , ca. 1410, from

Venice or Padua by Fiore Furlan dei Liberi da Premariacco. The Pierpont-Morgan Library version (MS M. 383) was originally part of a larger

collective binding entitled, Arte di armeggiare a piedi ed acavallo , of which it composed pages “ff 241-259.” The work was split up in 1780 and

its other contents are unknown. This manuscript is the former Codex Soranzo MCCLXI, and the former Sneyd manuscript first described in

1902by F. Novati. The Sneyd describes it as a small, thin, vellum folio, pen and ink with gold highlights, and illustrations of sword and lance

combat on foot and horseback. Novati stated he obtained it “from the library of the Abbate Canonici in Venice.” The earlier Soranzo Codex was

bound as part of a larger work (folios 1-240), likely compiled from various sources on martial arts. The Pisani-Dossi Manuscript reprinted by

Novati in 1902 is currently in a private collection. Novati described this as an unbound collection of leaves. Two other versions whose location or

existence is currently unknown include: Codex LXXXIV (Ms. 84) from the former Biblioteca Estense in Ferrara. This consists of 58 Folios

bound in leather with a clasp with the first page showing a white eagle and two helmets. Codex CX (Ms. 110) was last located in the same

institute and consists of 15 small format folios on unbound parchment. It is not known if these represent copies of one of the other three versions

or independent editions. The PML is in black ink and gold foil leaf. The Getty edition of fewer than 50 pages is on parchment in black ink with

watercolor highlights and gold and silver leaf. The Pisani-Dossi edition is 68 pages in length. Almost all the unarmored longsword material in

the Getty edition is covered in a mere 10 pages or so of 2-4 simple paired figures and short paragraphs or single sentences. The armored is

covered in about 6. The PML edition covers this in about 18 pages, all but two presenting four pairs of figures, but two pages with only a single

pair. The Getty includes approximately 10 pages on dagger fighting of more than 90 images.

2 As Professor Sydney Anglo noted: “The text of the Pisani-Dossi version is cast in neat distiches; whereas the Getty manuscript has much longer

descriptions set in verse so bad as to be barely recognizable as such. Yet the tidy distiches do little to illuminate the sense of the illustrations,

while the incompetent verse is vastly superior both in comprehensiveness and comprehensibility.” (Anglo, The Martial Arts of Renaissance

Europe , p. 121). On many pages in each edition there are at certain locations large empty spaces as if more text or additional images were

intended to be added. This may otherwise reflect something of the nature of preparing such technical literature in the age, where it was

impractical to first draft a rough version, and thus space was often used inefficiently.

Figure 2.

and published in Italy by Gladiatoria. Another entitled, Flos Duellatorum in armis, sine armis

equestor et pedester , and designated MS.84, along with one other, MS. 110, were located in

Biblioteca Estense in Ferrara. Known as the Pisani-Dossi edition, one original of these has

supposedly been recently located once again.

All but the PML edition of Fiore’s work [Figure 3] are dedicated

to Niccolo III d'Este, Marquis of the city of Ferrara, Modena, and

Parma. From the Pisani-Dossi edition’s dedication to the

Marquis, Fiore asserts to him that he will “never find another

book” like his nor a master capable of such a book. He adds that it

took considerable effort and time (some six months) to prepare,

and finally, that given his age he would not be doing another as

large.

An Enigmatic Combat Master

What little is known about the fencing master Fiore Furlan dei

Liberi da Premariacco, or Fiore dei Liberi, comes mostly from what he tells us in his own

words. 3 He writes he was the son of a knight from a modest noble family in the Friuli region,

Benedetto dei Liberi, of Cividale d’Austria in the Diocese of Aquileia. Fiore (pronounced “fee-

or-ray”) was born sometime in the mid 1300’s. In the late 1300’s he trained in Germany under

“Master Johannes, the Swabian”, who was himself a pupil of “Niklaus of Toblem” from the

diocese of Metz. Fiore may have also studied under Johannes Suvenus. He reveals that he

studied under both Italian and German masters and his method reflects aspects of the latter.

Figure 3.

In 1383, Fiore appears to have fought in Udine on the side of the town

during the civil war there. In 1395, he was in Padua for a duel and four

years later in 1399 he was in Pavia. Then in 1400 he was apparently

appointed master swordsman to the court of Niccolo III d’Este, Marquise

of Ferrara, and later acquired a commission as a master swordsman.

Master Fiore’s teachings reflect a significant example of what knightly

fighting arts were being practiced within this region of Europe during the

later 14 th and early 15 th centuries. But he clearly developed his own style,

which he then taught to signori (knights and nobles).

Interestingly, Fiore tells us that since childhood he himself had

a gift for fighting and that in his youth he wanted to learn “how

to fight” with various weapons and also to learn the “features of

each weapon, both for defence and for offence” and all matters

of “combat to the bitter end.” In the prologue to his Fior

Battaglia (“Flower of Battle”), Fiore Dei Liberi da Premariacco

stated he would reveal all the things he knew and had learned

from other noblemen experts in the craft. Fiore freely admitted

to having learned from them in various places he had traveled.

The Pisani-Dossi edition states that he learned from many Princes, Dukes, Counts and others in

3 Novati noted that historical records offer evidence of Fiore dei Liberi as being active in northern Italy in the late 14th century.

diverse places and provinces, in particular from Master Giovanni called Suveno, a scholar of

Niccolo’s from Metz. He also tells us that he studied the art for more than 40 years (or 50

according the Pisani-Dossi edition). As well as being able to read, write, and draw, and

additionally having some other books about the craft, he expresses that he felt he was still not yet

“a perfectly good master” (even though considered such by noblemen who were his students).

More than once he makes reference to his opinion of the rarity of true expertise in the martial

arts. 4 He adds that he also sought to learn “amazing and secret things which are known by very

few men in the world.”

In fact, Fiore declares that the reasons for producing his work about “the whole art” was because

there were “few masters in the world” of the art and he wanted to “be remembered.” He even

goes as far as to declare how he has “seen one hundred men who would call themselves Masters

yet if you took all their skills added together, you would not have the makings of three good

students, let alone one Master.” 5 In the Pisani-Dossi edition he declares he has seen a thousand

people who called themselves masters of which he thought perhaps four were actually good

scholars and none good teachers.

Interestingly, Fiore admits that in this science of combat he

himself had great difficulties in order to become skillful. In the

prologue to the Getty edition Fiore also states that only one of

his students ever possessed another book on fencing, yet that, in

classic Western tradition, it had been said, “without books no

one can be a good master or a good student in this art.” Fiore

then tells us that he himself confirms this to be true, because the

art was so vast that there is no one in the world able to keep it all

in mind without the aid of books. 6 In the Pisani-Dossi edition

he expresses this idea by saying how it is “difficult to keep in

one’s mind this complex art without written books.” That this

was declared in an age of widespread illiteracy where memory

mnemonics were supposedly the common means of recalling

knowledge is perhaps remarkable. Finally, remarking on the satisfaction of his acquired fame

and fortune, Fiore comments, “I am very content, because I have been well paid and I obtained

the honour and the love of my students and of their relatives.” 7

The question has been asked as to whether Fiore’s name itself might mean “flower” and that his

title is possibly some play on words. Additionally, it may be that the term flower here is itself a

metaphor for the bruises, or “flowers” that “bloom” like the “red roses” that swell up after

Getty Museum version, (Accession Number 83.MR.183. MS LUDWIG XV 13), Folio 3 recto.

5 Ibid. Folio 3, verso & recto, Folio 4 recto.

6 Here he wrote: “none of my students…have ever had a book about the art of combat, except for Messer Galeazzo da Mantova. Because he said

that without books no one can be a good master or a good student in this art. And I, Fiore, confirm it to be true, because this art is so vast that

there is no one in the world who has such a large memory to keep in mind the fourth section [on staff and spear] of this art without books.” Getty

Museum edition. Folio 3, verso & recto, Folio 4 recto.

7 Pierpont-Morgan Library version. MS M. 383. 1 Verso.

fighting practice or as a result of combat. Tournament sites were sometimes euphemistically

called “flower gardens” for this reason.

His Secret Art

As Fiore was in his mid-50s when he produced his treatise, and

acquired his expertise as a youth, Fiore’s teachings in fact

represent late 14 th century martial skills common to knights and

men-at-arms who fought in armored warfare both mounted and

on foot, participated in tournament contests, and engaged in

lethal judicial duels. This was in addition to living in an

especially violent society where the sudden need for personal

self-defence with arms or empty hands was frequent.

Like many other martial arts instructors wishing to preserve the

tactical advantage of their skills as well as the proprietary nature of their teachings, Fiore dei

Liberi stressed secrecy as well as the importance of teaching only righteous and upright students.

Fiore states how he taught his skills to his students only in private with just their close relatives

or a few trusted individuals present and that everyone had to swear not to reveal his methods.

Anyone there “by grace or favor, with Sacrament” remained only by “promising with faith” to

keep his techniques confidential. Fiore called his fighting techniques archano censeo (“secret

science”) and declared how they were for nobles and the worthy only. He therefore would teach

fighting skills only to nobles and knights who he felt as a class not only ruled justly but also

alone had the role of protecting widows, orphans, and weak people as well as defending the faith

from outside threats. Such “nonproliferation clauses” remarking on refusals to teach martial arts

to those deemed of poor character was a repeated theme in the Renaissance martial arts literature.

Indeed, the first prologue of the Pisani-Dossi edition specifically refers to “the peasantry, which

Heaven created dull and only for the use of heavy work, like animals of burden” and comments

on preventing them from learning such a “precious and secret science” as fencing, reserving it

instead for those nobles entitled to it.

The secrecy by which many fencing masters taught their craft,

despite writing it down, is part of the difficulty in discovering

the nature of their training. Secrecy was a major component of

many masters’ teachings. This is reasonable in an age when

inside knowledge of an opponent’s techniques or fighting style

offered an advantage in fighting or killing them. But it also had

a practical value in that a master could protect to some degree

the unique content of one aspect of his livelihood as well as add

a certain air of mystery to it. In the 1380s the priest and master

of arms Hank Döbringer tells us that the master Liechtenauer

similarly recorded his teachings “in secret wordings” so that

“the art would not be commonly spread” or that such a valuable

craft “would not be lost and inferior teachers leave it in poor

repute.” In Urbino during the 1480s, the fencing master Fillipo Vadi, evidently inspired by

Fiore’s earlier work, wrote in his own treatise: “Do not show the secrets of the art, or you will be

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